Click to Skip Ad
Closing in...
Troubled Western 'Jane Got a Gun' Rescued as Relativity Files for Bankruptcy (Updated) Troubled Western 'Jane Got a Gun' Rescued as Relativity Files for Bankruptcy (Updated) 'The Witch' Won't Open Until 2016, But Its Sundance-Winning Director Has a New Film 'The Witch' Won't Open Until 2016, But Its Sundance-Winning Director Has a New Film Charles Aidikoff Screening Room Shutters: End of an Era for LA Critics? Charles Aidikoff Screening Room Shutters: End of an Era for LA Critics? How HBO's 'Ballers' Fails Sports Fans How HBO's 'Ballers' Fails Sports Fans Michael Moore Reveals Stealth NSA Project 'Where to Invade Next' on Periscope Michael Moore Reveals Stealth NSA Project 'Where to Invade Next' on Periscope Showtime Chief on David Lynch's 'Twin Peaks' Revival: "It's His Show" Showtime Chief on David Lynch's 'Twin Peaks' Revival: "It's His Show" Toronto Film Festival Lineup: What Did They Get? Toronto Film Festival Lineup: What Did They Get? Discover the Brothers Quay, Identical Twin Animators Who Inspired Christopher Nolan Discover the Brothers Quay, Identical Twin Animators Who Inspired Christopher Nolan Richard Linklater's Untitled New Film Pushed to 2016, Might Direct Jennifer Lawrence Movie Richard Linklater's Untitled New Film Pushed to 2016, Might Direct Jennifer Lawrence Movie Jill Soloway Says "There Is an All Out-Attack" on Female Filmmakers Jill Soloway Says "There Is an All Out-Attack" on Female Filmmakers 'Steve Jobs' Joins Fall Festival Contenders as NYFF Centerpiece Gala: What's Coming Up and What's Not (UPDATED) 'Steve Jobs' Joins Fall Festival Contenders as NYFF Centerpiece Gala: What's Coming Up and What's Not (UPDATED) Top 10 Takeaways: Holdover 'Ant-Man' Tops Blah Week, Summer Slot for 'Southpaw' Pays Off Top 10 Takeaways: Holdover 'Ant-Man' Tops Blah Week, Summer Slot for 'Southpaw' Pays Off Arthouse Audit: Is 'Phoenix' This Year's 'Ida'? 'Mr. Holmes' Stays Strong Arthouse Audit: Is 'Phoenix' This Year's 'Ida'? 'Mr. Holmes' Stays Strong Friday Box Office: Sandler's 'Pixels' Gets Mixed Response, 'Paper Towns,' 'Southpaw' Not Far Behind Friday Box Office: Sandler's 'Pixels' Gets Mixed Response, 'Paper Towns,' 'Southpaw' Not Far Behind Scott Foundas Explains Why He's Leaving Film Criticism--Again--for Amazon Studios Scott Foundas Explains Why He's Leaving Film Criticism--Again--for Amazon Studios Congrats to Monica Bellucci: She's Making History Congrats to Monica Bellucci: She's Making History Watch: The Secret Ingredient to David Lynch's Disorienting Cinema Watch: The Secret Ingredient to David Lynch's Disorienting Cinema First Look: 'No' Director Pablo Larraín Channels 'Neruda' with Gael García Bernal First Look: 'No' Director Pablo Larraín Channels 'Neruda' with Gael García Bernal Why Kevin Costner Paid for 'Black or White' (New Trailer, Sneak Preview Q & A) Why Kevin Costner Paid for 'Black or White' (New Trailer, Sneak Preview Q & A) Gabriel García Márquez and Akira Kurosawa Talk Film, Writing and 'Rhapsody in August' in 1991 Gabriel García Márquez and Akira Kurosawa Talk Film, Writing and 'Rhapsody in August' in 1991

Alice Waters Throws Chez Panisse Feast for Sauper's SFIFF Film 'We Come as Friends'

Thompson on Hollywood By Meredith Brody | Thompson on Hollywood May 1, 2014 at 6:22AM

The phone rings with an invite to a special dinner at Chez Panisse tonight. I'm on deadline, at home, hoping to finish a piece before I drive over to the first full day of the 57th Annual San Francisco Film Festival. I'm determined to make it in by the 3 p.m. screening of "We Come as Friends," by Hubert Sauper. Chef Alice Waters, it seems, met Sauper at the Berlin Film Festival in February, loved "We Come as Friends," and is hosting a dinner in his honor. "Yes, of course, thank you so much, I'll see you there."
0
Chez Panisse

We choose our own entrees. Everything looks amazing, but I decide on pan-fried fish cakes -- despite having told Hubert that I would eat "anything but fish!" -- an allusion to the scary perch of "Darwin's Nightmare." The cosmopolitan Sauper, who was born in Austria, but has lived (and taught filmmaking) in England, Italy, and the United States, has a gift for instant intimacy -- useful at film festival dinners, as well as flying into remote African locations unannounced.  He now lives in Paris. (I often wonder why anyone lives anywhere else.) 

There's an our-end-of-the-table discussion about what Martin Marquet, Hubert's friend and publicist (and grandson of Jacques Tati's longtime writing partner Henri Marquet, should try, as a Chez Panisse novice: he goes with the famed grilled chicken al mattone (under a brick).  The vegetarians at the table order a luscious-looking (and tasting -- I grab a bite) lasagna verde with morel mushrooms, fresh ricotta, and spinach. Ruby Rich, who has brought copies of the new issue of Film Quarterly, which she's now editing, goes for the pork loin roasted with fennel seed and rosemary. I swap a crusty fish cake (and its accompanying shaved vegetable salad, new potatoes, and garlicky aioli) for more than a few of Noah's Hog Island clams in a pungent saffron and sorrel broth, jeweled with bright green peas. 

I'm sitting next to Anuradha, who provided Hubert with intel that led to one of the most moving scenes in "We Come as Friends," in which a village elder confesses that he unwittingly sold rights to all the natural resources of his 600,000 hectares of land to a Texas firm for $25,000. We are not unaware of the irony of feasting in honor of a movie about a land rife with "food insecurity," an ironic and euphemistic phrase for starvation.  But we are happy to be able to celebrate its creation, and also to hope that it helps to increase awareness in the world of Africa's continuing exploitation.   

Hubert, Martin, and others have been on the road for grueling and exciting months with "We Come as Friends" -- which premiered at Sundance in January, and was shown in New York at The Film Society of Lincoln Center's New Directors/New Films, as well as in Berlin, and is now en route to the Planet and Doc Film Festival in Poland.  They tell me that they all looked forward to Alice's dinner as "an oasis in the desert." It's a sweet moment, made sweeter by magically-appearing plates of rhubarb tart and the most evanescent of bittersweet chocolate brownies, as well as Alice's trademark copper bowls filled with tiny Pixie tangerines.  

Barney Broomfield is thrilled that the tangerines are supplied by his uncle and aunt's Ojai farm, Churchill-Brenneis, which is namechecked on the menu.  "How wonderful and random is that?," he says, and I tell him, shyly, that, equally randomly, years ago I was invited to a birthday party for his father, famed documentarian Nick Broomfield, and that Nick was more pleased with the Barney's box that the black-and-white scarf came in than with the gift, because of his son's name.

"You look like the perfect combination of your mother [documentarian and cinematographer Joan Churchill and father," I say. "Everybody says that," he replies.

By now the party is breaking up. I've not only dined superbly, but I've met some fascinating people. "This evening was like a spoonful of wonderfulness," one of them emails me afterwards, "such a delicious meal and amazing people to share it with."  

I'm reminded again of the other reason I love film festivals: not just the movies, but the people who make them and those who come to watch them.  In time to come I may forget some of the movies I see at this year's San Francisco International Film Festival, but I'll never forget this dinner.  We left as friends.

This article is related to: San Francisco, San Francisco Film Society, San Francisco International Film Festival, Festivals


E-Mail Updates








Thompson on Hollywood

Born and raised in Manhattan, Anne Thompson grew up going to the Thalia and The New Yorker and wound up at grad Cinema Studies at NYU. She worked at United Artists and Film Comment before heading west as that magazine's west coast editor. She wrote for the LA Weekly, Sight and Sound, Empire, The New York Times and Entertainment Weekly before serving as West Coast Editor of Premiere. She wrote for The Washington Post, The London Observer, Wired, More, and Vanity Fair, and did staff stints at The Hollywood Reporter and Variety. She eventually took her blog Thompson on Hollywood to Indiewire. She taught film criticism at USC Critical Studies, and continues to host the fall semester of “Sneak Previews” for UCLA Extension.